Super Bowl LII had just about everything I could have possibly wanted—other than, of course, a New England Patriots win. I’m a huge Justin Timberlake fan (although I don’t really like the songs I’ve heard so far from his new album) and knew he’d somehow involve Prince in his halftime show in Minnesota.

As someone who’s become more acutely aware of cool new ways technology can be used in more traditional locations in my seven years with CI, the final score wasn’t the only thing that turned out to be a major disappointment inside U.S. Bank Stadium on Super Bowl Sunday.Little did I know heading into the Big Game that the Patriots would struggle to stop the eventual Super Bowl champion Philadelphia Eagles, Timberlake’s 15-minute set would be plagued by muddy audio and he’d lip-sync more than he actually sang and Prince’s appearance would be little more than a cameo, with the Purple One projected behind Timberlake as they sang “I Would Die 4 U” together.

Early last week, I read rumors about Timberlake incorporating a Prince hologram into his show and couldn’t wait to see how that would work, although I wonder if what we might have actually seen [if it had happened] was a Pepper’s Ghost.

A few days before the Super Bowl, though, I heard about Prince’s objection to the idea of using technology to create a mega-star musical pairing. In a 1998 interview with Guitar Worldmagazine, Prince called the concept “demonic.” Friends and family members apparently talked Timberlake out of doing that kind of tribute to Prince because of his long-standing hatred for it, which was too bad from my perspective.

I always loved Prince’s music and his attitude because he was known for being ahead of his contemporaries in terms of his willingness to try new things musically, so it was surprising to me to hear about his objection to incorporating technology into his shows and his music.

But Timberlake probably did the right thing in acquiescing to Prince’s wishes, especially in his home state, on the big stage.

Maybe the fact Timberlake even flirted with the idea of going against Prince’s wishes with the “hologram” was enough for the musical gods to mess with his microphone and audio during his halftime performance, though.

Fans flocked to Twitter to vent that Timberlake’s vocals were muted, buried under the backup vocal and instrumental audio, sometimes seeming to drop out altogether.

Maybe the fact Timberlake even flirted with the idea of going against Prince’s wishes with the “hologram” was enough for the musical gods to mess with his microphone and audio.

The muddy audio still managed to wreck the experience for some viewers. East Coast viewers seemed more likely to notice the issues than those on the West Coast, although the only thing I noticed was Timberlake seemed to be lip-syncing more than I remember from his Fenway Park show with Jay Z a few years ago—and that we didn’t see Janet Jackson, other *NSYNC members or Britney Spears join him on stage as a special guest.

When I saw Jimmy Fallon introduce Timberlake’s show, a friend and I talked about whether we’d see Barry Gibb come out and sing a Bee Gees classic, a nod to the Saturday Night Live “Barry Gibb Talk Show” skit, but it was not meant to be.

Maybe when Super Bowl LIII kicks off next February in Atlanta, it’s time to go back to the days of Up With People so fans won’t be subjected to a muffled or subpar audio experience. Or maybe the performers can just let it be known they’re going to lip-sync and everyone can be fine with that. After all, the fans inside U.S. Bank Stadium were probably more excited to have another exciting game than worried about who was interrupting that contest for 15 minutes with a too-fast-paced hits medley.

]]>Leon Speakers will bring its full range of speakers to the Integrated Systems Europe 2018 [stand 1-N85] next week in Amsterdam, highlighting the Leon Horizon Interactive FIT.

Developed for use in both residential and commercial spaces, the Horizon Interactive FIT “is the first and only sound bar on the market that combines high-fidelity audio with internal AV storage space—all neatly concealed behind a custom grill built to match the exact width of the display,” according to Leon Speakers.

The HIFIT features two 4-inch woofers and two 28mm tweeters in a cabinet that’s 2.75 inches deep and is available in two models: HIFIT44UX to accommodate TVs up to 65 inches diagonal and HIFIT44UX-OS for displays up to 90 inches diagonal.

“The internal storage area is flexible enough to house a number of small-format AV components including Apple TV, Amazon Echo Dot, Roku, Leon’s new OTO MCA 200 amplifier, Control4 controllers, small webcams and more,” according to the company press release.

“Our dealers have always looked to us for creative ways to integrate design with technology and the HIFIT is our latest innovation,” says Noah Kaplan, president and founder of Leon Speakers.

“From the front, it looks like our traditional Leon Horizon Interactive FIT soundbar, but behind the grill, you’ve got the flexibility to store small AV components, providing a streamlined solution for technology integration.”

Leon Speakers will also debut its OTO MCA 200, a high-powered modular control amplifier that makes any of the company’s speakers plug-and-play.

The company will also be showcasing products from its existing portfolio, including a selection of Horizon Series soundbars and Profile Series side-mount speakers, which are built to match the width or height of any display, a variety of architectural speakers, ultra-thin subwoofers including the Aaros A8-200 and the Boundary Series outdoor speakers in custom hydro-dipped finishes.

]]>Simplifying your conferencing is why we created three new all-digital audio solutions, allowing you to choose only the products you need. At the heart of the Biamp conference room are three key components: a microphone, an amplifier, and DSP.

A Biamp room emphasizes the user experience—not just with the technology itself, but also with how people interact with it. That’s why we give people the ability to move around the room as they see fit, not as the microphone dictates.

While each element is powerful in its own right, the combination of all three devices inside a self-contained Biamp ecosystem is what sets our AV experiences apart for the end user. Choosing this combination provides the following benefits to the integrator:

Reduced programming time

Reduced installation time

Equipment cost savings

Exceptional conferencing experiences for your customers

Learn more about these new products:

Microphones: Tesira TCM-1, TCM-1A, and TCM-1EX

No setup or adjustments to beamtracking settings are required

Each mic only uses a single channel of AEC

Three 120-degree zones for 360 degrees of coverage

Multiple mics can be daisy-chained (2 with Devio, 3 with Tesira)*

Suitable for use in air handling spaces, such as drop ceilings

Amplifiers: Tesira TCM-1A and AMP-450P

Powered by PoE+, with internal power draw protection

Burst power mode to handle peak signals

Fanless operation

Software-selectable power versus channel count

Suitable for use in air handling spaces, such as drop ceilings

Digital Signal Processor: TesiraFORTÉ AVB VT4

All the DSP power of a traditional TesiraFORTÉ, without the unused I/O cost

4 analog inputs and 4 analog outputs

Fanless operation

4 channels of AEC

VoIP, POTS, and USB in a single chassis

What Is Beamtracking Technology?

Beamforming microphones are arrays of microphone elements with “beams” (polar patterns) that can be controlled and shaped via DSP, allowing the beams to be “aimed” at specific areas of the room. While the development of beamforming microphones has been a significant advancement for professional AV, the fact remains that the beams determine where people should be. We think this is the wrong way around. Instead, we think people should determine where the beams are directed.

Beamtracking technology differs from beamforming in that it allows a single microphone to cover a wide area with little to no setup, since the microphone identifies and locks to a signal source—even if the person speaking is moving around. Our beamtracking microphones also intelligently mix conversations from around the table, allowing far-end conference participants to experience a more natural-sounding conversation. The patented interactions between our AEC and beamtracking algorithms dynamically adjust the output in real-time to ensure far-end echo is minimized.

]]>https://mytechdecisions.com/audio/conferencing-simplified-biamp/feed/0Everything You Need to Know about Commercial Microphones, Audio, and Acousticshttps://mytechdecisions.com/audio/everything-need-know-commercial-microphones-audio-acoustics/
https://mytechdecisions.com/audio/everything-need-know-commercial-microphones-audio-acoustics/#respondMon, 29 Jan 2018 10:00:37 +0000https://mytechdecisions.com/?p=10741How do microphones work and how can we ensure that the audio and acoustics in our organization are working how they should? Read on to learn.

]]>Microphone considerations are an often overlooked but integral part of many AV projects. Whether video conferencing, presenting, training, or giving a speech, microphones allow us to be heard. But just how to make sure we’re heard correctly is a skill that many technology decision makers haven’t learned.

When it comes to choosing the right microphone, the microphone itself is only a fraction of the problem. Where the microphone will be, what the room looks like, how many people will be near the microphone, and who will be using it are all integral parts of the formula. To understand how to determine that, you need to understand how microphones work in the first place.

Ask for Directions

One of the very first options to consider is the directionality of the microphone. Directionality refers the location(s) that the microphone will pick up or ‘hear’. There are several different types used to pick up and block specific areas.

The map of coverage for a microphone is called the Polar Pattern as it looks similar to a globe as seen from above look at the pole. While most units provide just the pickup area indicated by the pattern it is important to remember that some will allow selectable options. It is safe to suggest that a tech should never presume that the default pattern is what the mic is set to.

There are a number of different directionality options available, from the very wide and open to pinpoint area focused. The degrees of coverage can vary but in general there are three types of directionality patterns.

OMNIDIRECTIONAL has a polar pattern that is a complete circle. As the pictogram would indicate this microphone will pick up sounds, depending on proximity, from anywhere in the room. This includes the audience, side stage and any speakers in the area. Omni mics have the greatest potential for creating feedback but can provide a one mic solution for recording two or three folks gathered around a small table.

BIDIRECTIONAL will pick up two sides, for sake of example we can call this the back and front. Often called a “figure eight” pattern, this type of microphone rejects any signals from the sides. The figure eight pattern is generally two fat cardioid, or heart shaped circles which meet at the mic center. This provides fairly wide coverage areas on opposite sides and is perfect for face to face interviews.

UNIDIRECTIONAL OR CARDIOID heart-shaped microphones pick up sound from one location or direction – with some exceptions. Unidirectional actually describes a range of patterns that vary in coverage from the very wide to the very narrow. The standard cardioid is just that, the classic heart shaped pattern which picks up the front and a bit from the mic sides. These are your standard vocal or speaker mic that are forgiving to some head shift while speaking.

In addition there are a range of Hyper-Cardioid patterns that narrow the focus to smaller and smaller areas. These are excellent for when you need to isolate a single speaker or sound source. There is a caveat with these microphones. Due to the physical nature of mic diaphragms, the creation of narrow cardioid patterns result in a thin area of pick up where one would expect rear rejection. When using this type it is important to think of what possible sounds could be picked.

Good Vibrations

Knowing where and what the microphone will pick up is important, but the way a microphone captures the sound can have dramatic effect.

The heart of a mic is the transducer or diaphragm. This is the membrane which vibrates back and forth as sound waves push against it. The thing is, there are different types of membranes. They can affect the type of sound and present problems when used improperly.

For our purposes there are two types of microphone diaphragms, Dynamic and Condenser.

DYNAMIC transducers move under the sole influence of the sound waves coming in. These mics are good work horses which can withstand high SPL (Sound Pressure Levels). While dynamics tend to have some considerable roll off at high frequencies they serve well as general purpose.

The units are also renowned for their durability. They can be dropped numerous times without much concern for performance. A manufacturer of well know mics even created a series of videos demonstrating a flagship mic being crushed under things like a bus wheel and still being ‘useable”.

CONDENSER uses a far more sensitive diaphragm that requires power. The power can be from a battery, external power supply or a mixer supplied “phantom power” via the XLR cable.

Also known as Electret Condenser, the mic has the advantage of overall superior frequency response with the ability to pick up finer sounds. The design also allows for a slimmer more compact device; helping prevent its profile from blocking a presenter’s face.

While many of the modern Condenser microphones are much sturdier than their predecessors, they are inherently more susceptible to damage than dynamic versions. Electret mics also are less durable in high SPL applications.

Proximity Paradox

When setting up microphones there are two key problems to solve: clarity of sound and avoiding feedback. These may sound simple, almost too simple, but they at the heart of all other decisions and considerations.

In the same manner that there is a goldilocks zone for talking in person, there is an ideal zone for microphones. Being too far results in one being barely heard. Too close- well no one likes the boominess, or proximity, of a close talker.

So, just what is the best location for a microphone in most spoken word applications?

In the following descriptions we will be concerned with the typical lecture, boardroom, and single speaker on a stage applications. There are, of course, many other applications that can use modified versions of our examples but these are outside the scope of this article.

FIND YOUR MARK Where you place a mic depends on where it is mounted, what the purpose is and what is around it. Three straight- forward factors that can be the source of frustrations and fits if not attended to with care.

AT THE LECTERN Typically when a speaker, such as a professor, keynote, or a person delivering a speech at a lectern they will not move much. In this set up we are looking for a general utility microphone that can effectively pick up the speaker and minimize surrounding noise.

PRESUMED POSITION Because the presumption is that a speaker at this position will not move from their spot it is best to choose a standard cardioid microphone. This polar pattern allows for direct placement and provides just a bit of overlap coverage in the case where a speaker tends to turn their head a bit.

Some might consider a Hyper-Cardioid to help eliminate feedback and extraneous noise. Unfortunately, in the tight pattern the speaker’s voice could be lost if they turn their head or move to the side. In addition, HC mics have some pick up at the rear, meaning audience noise could be added to the signal.

Position the mic about 6 inches from the lectern desk and 6 to 12 inches from the speaker’s mouth. Move the mic just slightly to one side and below the bottom lip. Distance and placement provides optimal space to capture the voice while helping to reduce the effect of breathiness and people who pop their P’s. The height helps to prevent reflections from the desk face causing acoustic interference, and can therefore help reduce potential cause of feedback.

SUBCONSCIOUS ALTERATIONS Many times a speaker will step up to a lectern and automatically move the mic to face directly at mouth level and dead center. This is akin to folks who add salt to a dish laid down in front of them before taking even a single taste.

The logic for this is based on a misunderstanding of what actually sounds good and too many movies which use this act is used as a cinematic device. It can help to explain to the speaker during rehearsal why the mic is where it is. This chat can also prevent ‘Mic Stoop’- where a person feels the need to bend toward the mic when speaking. See awards show presenters.

GET OUT OF THE SHOT Many facilities have a standard set of microphones they use for multiple purposes – the short stocky body with round mesh mic head. While these common units are fairly slim, often there are concerns about blocking the view from an audience based camera.

When setting up microphones there are two key problems to solve: clarity of sound and avoiding feedback. Everything the Technology Decision Maker Needs to Know About Microphones

GOOSENECK MICS that is a very slim tube with a small mic head attached to a bendable neck – are one solution. As these are condenser types and therefore more sensitive, care must be taken to minimize the popping P’s and boominess of strong voices.

Sometimes even the slim profile of a gooseneck is too much for the camera or there is no place to reasonably mount other microphones. In this scenario, a PZM or Boundary Mic placed on a table may be of benefit.

PZM MICS are flat panels with a small diaphragm mounted on top. The sound is captured by the waves bouncing off the mic plate and into the transducer. While effective and having decent frequency range, these are subject to picking up noise in close proximity. Someone tapping on the desk or turning pages on the same surface will be quite loud.

The Mobile Speaker

There are those presentations where the speaker will not be tied down to specific place on the stage. These folks will roam the space like an arena rock singer. Think your tech startup CEO.

A standard stand-your-ground mic setup will not suffice. A roaming mic also increases the complexity of avoiding feedback and other interference. Care must be taken in setup and pre-show testing over the entire stage.

In both solutions detailed below it is often best to use wireless units over wired. Each setup comes with inherent issues. Wireless needs a coordinated set up and wired can easily get tangled and underfoot when moving about.

HAND HELD: In keeping with the rock star theme using a handheld is the simplest solutions. Just hand the mic to the speaker and go.

Unless there is a specific need to do otherwise, use a Cardioid microphone with a wind screen / pop filter placed over the mic head. As with the reasoning on a lectern, using too narrow a pattern could lead to the speaker’s voice wavering in and out of intelligibility.

If at all possible the presenter should be coached on holding the mic 6 to 12 inches from their mouth.

Unfortunately, most folks are not naturally familiar with the units, which can lead to inconsistent sound. Common issues range from the speaker waving arms about while talking, holding the mic too close or too far away, cupping the transducer and speaking into the wrong end.

Unless the speaker is well acquainted with using a handheld it may be best to wire them up with a Lavalier.

LAVALIER MICROPHONES provide hands free sound reinforcement while not obscuring the speaker’s face or encumbering their hands. Lavalier units are small and unobtrusive but do require some physical preparation to make them neat and prevent tangles when the speaker is moving about.

In general you want the mic exposed and place about 6 inches below the chin. When the mic is used on stage or in a meeting room setting it is, again, best to use a cardioid head. Using an omnihead, commonly included with most lavalier systems, can increase the chance of feedback and picking up clothing noise.

Lavaliers are a very personal mic, and require some personal precautions in setting up. In quick and dirty needs where the talent is in a rush, simply clipping the mic on and putting the transmitter in a coat pocket can work. This may leave wires exposed which are unsightly on camera.

When it comes to a longer presentation with a high level client hiding the wires or the mic itself may be required. This can be a delicate proposition as the wires are often run under the shirt and looped out a gap between buttons. There are numerous methods for hiding and running cables. Whichever is used, staff should be trained in doing this with patience and professionalism.

Squeal Not

Acoustic feedback is the single most feared issue for the technical staff, talent and audience. Unless the squeals are the result of intentional guitar to stack playing, feedback is ruinous to a presentation.

Feedback is created when the sound from the speakers, with the presenters mic included, is picked up by the mic and re-amplified. The result is a loop that eventually generates a high pitched squeal. Not very pleasant or beneficial to a speech.

It is generally accepted practice to insure that all sound reinforcement speakers are placed out in front of the presenter and mic. If feedback is still persistent it may be helpful to lower the output level of the speakers nearest to the presenter microphone while compensating with higher outputs at other sets.

Choosing the right placement and directional mic types can go a long way toward helping minimize the chances for feedback. In general, unless absolutely necessary, avoid using omni directional microphones during a live presentation with speaker support.

Moving the mic closer to the speaker’s lips may help. Reducing the amount of acoustic space and providing some physical blocking of the sound waves may help in some situations.

With wireless units it is of the utmost importance to have an audio tech walk the entire presentation area with the mic. Freedom of movement means that at some point the talent will inadvertently walk in front of some speakers. Knowing where problems will occur will give the audio mixer the ability to compensate and anticipate solutions.

Happy and Heard

Getting maximum sound reinforcement and intelligibility requires understanding the form and function of microphones and the relation to their environments.

Putting these together in a consistent manner takes practice and patience. With the information presented here you are well on the road to keeping your talent happy and heard.

The training sessions are designed for integrators and programmers who want a more in-depth, advanced experience with the company’s products, according to ClearOne head of training Ron Lynch.

The two-day classes are held at the ClearOne Training Lab in Salt Lake City, Utah. The company covers lodging and meal expenses for all participants, according to Lynch.

In these instructor-led classes, everyone is provided individual work-stations to create an immersive learning experience that enables a deeper understanding of how to configure the company’s professional audioconferencing solutions.

All courses are CTS renewal units approved by AVIXA.

Each session includes four hours of afternoon audio conferencing training from 1 to 5 p.m. MT and four hours of training the following morning from 8 a.m. to noon. The schedule kicks off Jan. 22 and 23, followed by sessions Feb. 6 and 7 and March 6 and 7.

“The best way to maintain a highly educated network of programmers and systems integrators is to offer a series of in-person sessions that delve deeply into the features and benefits of our individual categories of solutions,” Lynch said. “These sessions are a natural complement to our online schedule of training sessions.”

A Frost & Sullivan report last year said ClearOne led the installed audioconferencing space with a market share of 53.8 percent in 2016.

This installed audio market “is expected to gradually grow at a CAGR of 3.5 percent from 2016-2021, driven by the launch of cost-effective installed audio systems from vendors like ClearOne,” according to the Frost & Sullivan report.

Registration for the upcoming series of Pro Audio Conferencing training classes is now open.

]]>Cornerstone in Berkeley, Calif., has become a popular spot not only for local bands and tribute acts but also for popular national touring bands including The Offspring, Jefferson Starship, Third Eye Blind and George Clinton and Parliament Funkadelic, among many others.

To help the live music venue, restaurant and beer garden deliver an exceptional audio and visual experience for both music fans and artists, Cornerstone owner Alex Popov hired Brad C. Schield and Associates to install a cutting-edge networked audio and lighting system for the 600-capacity venue.

Tech Specs at Cornerstone

BSA selected a complete networked HARMAN audio and lighting solution made up of JBL Professional speakers, Crown amplifiers, AKG microphones, Soundcraft consoles, BSS and AMX audio video control systems and Martin lighting fixtures for their professional performance, seamless integration and intuitive operation.

The audio system includes a main hang of 18 JBL VT4886 line array speakers, 6 JBL VT4883 subwoofers in the air, 4 JBL STX828S subwoofers built into the stage, and JBL SRX Series powered speakers for stage monitors.

Plus Four Marketing commissioned, supplied and tuned the HARMAN system at Cornerstone.

By using a single distributor and a complete HARMAN solution, BSA was able to streamline the installation process and complete the project quickly and efficiently.

“The HARMAN system installed at Cornerstone was near-perfect right out of the gate and needed very little EQ adjustment,” said Keith Erickson, tour live sound and large venue specialist at Plus Four Marketing.

“The Soundcraft consoles are set up with preset recalls that allow audio to flow from either side of the venue.”

The audio at Cornerstone is also synced with an AMX video system. The entire system is networked via Dante, without copper cable.

Thanks to HARMAN’s finance program, Popov was able to buy all of the equipment he needed at once.

Utilizing the Dante network and a BSS BLU link-equipped eight-channel Crown DC-I amplifier, audio can be routed to eight different zones throughout the restaurant and outdoor beer garden.

The Dante network allows audio to be sourced from multiple locations in the facility.

Separate shows can take place simultaneously in the venue and beer garden, or audio from the main venue can be routed to restaurant and outdoor patio, allowing guests to listen to the live performance from anywhere in the facility.

Impact on the Live Sound

Controlled by Martin M-PC software, the lighting rig has more than enough flexibility for local acts and serves as a great foundation for touring acts that bring their own lighting package.

“We have the flexibility to provide a complete audio experience in every area of our space,” said Popov.

“When we were researching the sound system, we travelled to different venues around the country. I can’t think of a single place we visited that sounds better than the HARMAN system we have at Cornerstone.”

“When The Offspring played here, they told us how great the room sounded. They’ve played some of the biggest and best venues in the world, so that was major validation of the system.”

]]>ClearOne, makers of audio, streaming and collaboration solutions, has won a new patent relating to smart devices for the Internet of Things (IOT).

In an announcement to investors, the manufacturer reports that, on August 29, 2017, the U.S. Patent and Trademark Office (“USPTO”) issued United States Patent number 9,749,072.

That patent was entitled, “Endpoint Parameterization Management of Generic Devices.”

It enables a system to use, manage, and control smart devices for the “Internet of Things” by describing key configuration parameters for those devices in a common format like a comma separated values (CSV) text file format or some other format that is equally simple.

According to a ClearOne press release, this new patent is part of ClearOne’s growing patent portfolio that currently includes over 100 patents and pending patent applications covering multiple new technologies in the fields of audio and video processing, audio and video streaming, and networked communication technologies.

This ongoing development of new patents continues ClearOne’s market leadership position, strong history of product innovation, and development of cutting edge technologies.

During the Total Tech Summit, which took place in November in Orlando, Fla., commercial integrators debated exactly how the AV integration industry ought to embrace IoT.

One panelist, Jay McArdle, CIO of Normall, Ill.-based ZDI, pointed out that IoT has been part of the business for quite some time.

“We’ve been talking to motion sensors and making something happen. We’ve been having a button press do something else,” McArdle said.

The panel contended that integrators are in an ideal situation to become IoT leaders.

“IoT is in every environment and the AV integration firm is the master of the technology environment,” McArdle said.

“We don’t own the network but we do own the environment and are responsible for the different technology that goes into the environment.”

However, he also challenged AV manufacturers, contending that too many “don’t know what [Cisco] ISE 802.1x implementation looks like and that “their devices can’t load that certificate to go on somebody’s network.”

He added, “That’s where you’re going to see those companies left behind, because IT is going to demand that you put it on their network.”

]]>https://mytechdecisions.com/audio/clearone-issued-patent-relating-smart-devices-internet-things/feed/0Interview: Dan Shore of TOA Discusses Audio Conferencinghttps://mytechdecisions.com/audio/interview-dan-shore-toa-discusses-audio-conferencing/
https://mytechdecisions.com/audio/interview-dan-shore-toa-discusses-audio-conferencing/#respondMon, 18 Dec 2017 19:00:11 +0000https://mytechdecisions.com/?p=10369When it comes to audio conferencing there are many considerations around what to put in the room. Dan Shore of TOA discusses best practices and TOA products.

TD: Why is audio quality so important to audio conferencing and why is it so hard for end users to find a quality solution?

DS: It seems like a fairly easy question but it’s not. Audio quality is extremely important to audio conferencing. Extraneous noises, room reflections, HVAC – all of these combine to deteriorate audio quality in audio conferencing situations. There have been many attempts to try and alleviate those problems – from mounting twenty microphones around the table to solutions that use a push-to-talk button – but none of them have been particularly successful.

TD: Your NUBIO Integrated Audio Collaboration System addresses a lot of these problems. Why should end users consider NUBIO for their audio conferencing needs?

The NUBIO is part of an audio collaboration system that TOA has introduced. It’s one of two pieces. It’s specifically designed for huddle room and small conference room applications, where you want to easily attach your computer to an audio device, have video through that audio device, and be able to communicate effectively over one of the many online tools available.

The NUBIO is a device that hangs on the wall, is installed easily, and has a steerable microphone and a high-quality set of speakers in a sound bar type configuration built in. This allows the steerable portion of the microphone to hone in on a specific speaker while ignoring or reducing extraneous noises. With the NUBIO in a huddle room situation everyone is looking at the screen and speaking naturally, with a microphone that has an extended horizontal pickup up to 12 to 15 feet. Everyone is heard extremely clearly.

TD: NUBIO is part of a series of products that includes the AMIO Array Microphone System. How can this device work to produce a quality audioconferencing experience throughout the company?

The AMIO microphone is a standalone microphone and processor that is processor agnostic. It is a reasonably priced solution to a room where a steerable microphone is the best solution. Multiple microphones can be placed in the room and, with the proper processing, be sent out over a standard conferencing system, a high-definition conferencing system, or be used for a web-based conferencing system.

TD: How can people get in touch with TOA Electronics and what can end users expect when working with TOA?

TOA works through a dealer network. All of our dealers are well experienced with our equipment. You can talk to TOA directly by calling our product support group or any of our sales representatives. The best way to get a hold of people at TOA is to go to our website. Contact us. Our regional sales representatives will be able to direct you to local dealers. If you have technical questions, we have two offices – one in San Francisco and one in New Jersey. Our product support group is available from 8:00 AM ET to 5:00 PM PT.

]]>In a good news/bad news scenario, consulting group Futuresource’s latest study says pro microphone sales will increase by 50 percent by 2021, but the margins on these products will fall.

In its findings, the U.K. company estimates professional microphone sales to increase from 4.6 million units in 2016 to just over 7 million units in 2021.

The problem for vendors is that falling prices will impact margins, and Futuresource says this will force vendors to focus on key market segments and technologies to ensure profitability.

“It’s clear from our research that pro mics unit sales and revenues will continue to grow out to 2021 and beyond, but the rates of growth are declining,” says Chris McIntyre-Brown, associate director, Futuresource Consulting.

Pro Microphones Boost in Four Markets

In its research, Futuresource discovered that microphone replacements and upgrades currently bolster sales in four market segments: consumer, install, live and broadcast.

Futuresource says that technical innovation in North America creates sales opportunities within the consumer and install market segments.

“Watch out for solid growth coming from the use of pro mics in network environments,” notes McIntyre-Brown.

“This is one of the most important trends in today’s pro microphone market and one worthy of exploration. With the worlds of AV and IT converging, microphones are connected to networks in a way similar to computers, allowing them to operate over longer distances.”

Effect of Wireless on Pro Microphone Sales

Some of the other areas of technology fostering microphone sales is wireless technologies, which he says have improved over time by offering better security provisions.

“Digital wireless technologies are also doing their bit to drive market growth with a range of benefits that include low noise, low distortion, the opportunity for encryption and enhanced transmission reliability,” McIntyre-Brown comments.

“The market is moving rapidly to the point where microphone buyers can enjoy the convenience of wireless technology without noise or distortion at an affordable price.”

According to its research, Futuresource says Shure “dominates” the market with a “substantial” lead over its competitors, which includes Sennheiser, Audio Technica, and other brands such as Sony, Beyerdynamic, AKG and Audix.

“Brands with global pro mics revenues less than $35 million accounted for almost half of the market in 2016,” asserts McIntyre-Brown.

“Chinese manufacturers are also a significant competitive force. They own the low-end of the market, they make it easier for new competitors to enter and they are expanding their presence. More significantly, these rumblings in the basement could lead to upheavals for manufacturers within the mid tier.”

DTS:X is an object-based surround sound format that places sound in locations, rather than channels, and allows sound engineers to create “richer soundscapes by moving sound objects in front of, behind, above and beside the audience.”

“We are truly pleased to partner with Classic Cinemas to provide the DTS:X immersive audio experience in their historic venues,” states Bill Neighbors, general manager, cinema, digital media and streaming solutions, DTS.

“The flexibility of DTS:X allows Classic Cinemas the ability to offer their guests a premium experience that is true to the filmmakers’ intent, while allowing for the historic preservation of their theaters.”

“Installing DTS:X certified equipment in our auditoriums will deliver a premium experience to our guests in a cost-effective ways, thanks to the technology’s inherent flexibility and most importantly … first-class sound.”

DTS points out that since the format’s introduction in the summer of 2015 more than 120 movie titles have been released that include the technology as a soundtrack option, with more than 500 screens also adopting DTS:X sound systems, and another 60 mixing stages in 17 countries installing DTS production systems in their facilities.